K-Gr 3—In this compelling picture book, Gerstein invites children to travel back in time more than 30,000 years to a cave in what is now southern France. Using thickly applied acrylics and rough strokes of black ink, he creates a prehistoric setting complete with a community of early humans, giant woolly mammoths, and one inquisitive caveboy. Told in second-person narrative, the text asks readers to put themselves in the mindset of the boy surrounded by wide-open skies, plush drifting clouds, and a great diversity of flora and fauna. A true artist, the child sees more than the surface appearance of his world. Gerstein's illustrations of rocks, clouds, and shadows cleverly conceal animal shapes that both readers and the protagonist are compelled to discover. At first, the other cave dwellers are dismissive. Then the youngster does something unprecedented: he picks up a burnt stick and begins drawing on the walls. For his fellow early humans, this first taste of art is scary and disconcerting. "Magic!" the boy's father exclaims. It is, in fact, the world's first drawing. An author's note provides background on the real-life drawings in the Chauvet-Pont-d'Arc cave and the discovery of a human footprint belonging to an eight-year-old child. Pair this title with Emily Arnold McCully's
The Secret Cave (Farrar, 2010) to extend the lesson and learn about the 1940 discovery of the caves in southern France.—
Kiera Parrott, Darien Library, CTGerstein explores the imaginative feat it must have been to invent drawing -- the two-dimensional depiction of a three-dimensional world. Noting that there exist thirty-thousand-year-old cave drawings (and in the same cave, a child's footprint), the offstage narrator begins by addressing a jeans-clad kid who's about to draw a picture: "Imagine. . .You were born before the invention of drawing. . .You live in a cave. . .You love to watch animals." The pictures then flash back to a prehistoric child (a ringer for the modern-day one), who is a close observer of real animals, finding their images in clouds, rocks, and the shadows on cave walls. After his skeptical father dismisses his tale about an awesome woolly mammoth, the child is inspired by his encounter with the creature, and by his own dreams, to trace its image on the cave wall using a burnt stick ("Look! Here's the tail. . ."). At last, the others see: "Magic!" -- a thought Gerstein confirms without further exploring the revolutionary nature of the young artist's innovation. Echoing the simplicity of cave drawings with simply sketched figures, Gerstein enhances them with expressive pen-and-ink detail and luminous acrylics and colored pencil, in hues from pure sky blue to firelight. This empowering tale would pair nicely with Jeanette Winter's Kali's Song (rev. 3/12), which posits the invention of music in another prehistoric cave community. joanna rudge long
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